The Salt Lake herald. [volume] (Salt Lake City [Utah]) 1870-1909, 1887-10-30

| lgent because 1t was lnSlpld and mean
| ingless and monotonous. She looked
like Peri; she acted like wax figure.
When she stood still and kept her
mouth shut, she reminded me of Emer-
sons matchless lines; for whether she
stood or sat, or only cast shadow,
she conferred q blessing Of beauty on
thd earth.
But she was not there to stand still
mutely. Acting is something more.
The contour of her head reminds you
of Keats Selene or Thorvaldsen's
Venus. The modelling of her neck and
shoulders sets your statuary wild.
Shs looks, in her gray, half Greek
half French robe, like Helen of Troy.
Her Milo arm has a thousand
sensuous curves in it, and her dreamy
face haunts you with its lambert sx-
preston that can no more be trans
lated than you can translate the pathos
of nocturne of Chopin's or put into
words the subtle mystery of Coleridge's
Christobel.
But alas! that's all.
Criticism, were it confined to the eye,
would be mere rhapsody.
1t has to be not only ocular, but ora
cular, beauty is one thing and duty is
another; and beauty in the harness OF
endeavor makes a thousand appeals to
our sentiment and our chivalry which
the critic has to ignore, unless the stage
is show-window and not an arena
Miss Lytton succeeded in attracting q
great deal of attention. l believe she
received unusual instruction in Auarch,
and was coached for weeks in Angela
The whole company in Mr.. Mackays
play bowed down hopelessly 10 her lam
ifry hoy
and bewildered by her Directory dress
and Greek head, forgave her with neb!e
madness for that which she did not 90
From that moment her neck and
shoulders became celebrated, and il
the chiYalric hearts of Steele Mackaye
Mr.. Sanger and Mr.. Harry Lee there
was large and tender faith in the
dramatic ability that must be hidina
somewhere under so much comeliness.
Up to date it is hiding there still. The
second exhibition did not reveal
ability distinctly. Miss Lytton's role
was combination of the ingenue and
the heavy woman of the stage. She is
required to assume the sweet frankness
of utter innocence and act the resolu-
ton and misery of despair. She
handled both poles of this battery with
the same placid monotony and the
same unruf1ed Nervousness. She
swooned in sweetness and she
beamed in sorrow. She climbed
the stormy heights of passion like
frightened gazelle, and she shone Oh
the top of tragedy like wax candle.
She moved through jealousy like one of
Canova's nymphs. She offered herself
and her honor on the altar of her hus-
bands senseless rage like Mary's lamb.
Mrs. Potter has engaged Miss Lytton.
This is bravery l did not expect. If
dress, it will be fatal to Mrs. Potter's
CLAIMS of personal beauty.
A Salt Laker and an occasional cor
respondent of THE HERALD, who wa
lucky enough to see Angela, writes us
as follows: We have not been to many
places, but we did see Our Geneve" in
the matinee and got our So worth of
curiosity satisfied. A brief outline of our
impression of the play and the actors
may not be unacceptable 10 Dramatic
and Lyric. The play is laid in Naples,
and the cast is small. A wicked old
baron Lee is married by order of the
church to young maiden just fresh
from convent life (GeneYe). fhe latter
is, of course, all unaquainted with the
mysteries of love, and doesn't realize
what she has missed Until ter cousin,
Count FeliCe, comes On z. U. z. Then
follows little exchange OF The tender
passion; he kissed her hand, she his
eyebrow and then exits. when, l am
sorry 10 say, the audience Uttered.
Memmone (by SalYini, really good
piece of acting) then comes on the stage
clad in a striped cotton shirt and pants,
with bare feet. and eYinces to the pure,
L.. - ,.
lover, decided hate for the wicked old
baron, and suggests putting him out OF
the way. But ne of the untarnished
listen TO il, and subsequently, informs
the wicked baron of Memmoue's plans
TO elevate MIN TO another sphere. and
is rewarded for mis- pains by challenge
TO duel. Before the dCel takes place, |
Memmone slabs the baron (bg the evil
dence OF the dagger-abouf foot
deep. l should say and the baron is
Immediately brought oG the stage and |
accuses the count OF having committed !
the deed. Then follows . succession of !
perjUries that would make even the !
tribune stagger. The wickej Baron lies |
bv accusing the Count; Angela, 10 save |
her lover. lies and says lhe Count was |
in her room: The Count, seeming TO |
think that worse than death, says he |
was not in her rOou, but that he did |
the deed, wherein he lies too, and the |
real crimina, being confronted with the |
accusation. pleads not guilty; lie the |
fourth. However, shortly afterwards, |
By means knoWn only TO playwrights, |
al three Of them (the mem are sent to |
Jail aod are subsequently released by |
means OF the periodical revolutions
common ~ Italian chimes. The Baron
TO find Angela loving the young
Count as much as ever, ana as a last
resort ne mas holes bored in the bottom
OF the boat IL which the Count is soon
to sail away, and then drags Angela
back up TO the centre OF the stage to see
him drown. She releases herself from
him, rushes 10 the front, offers up
prayer and at once, looking blankly
into space, describes how the Count is
escaping death, and this being con-
irmed by look on the part of the old
Baron. he raises his hand to strike her
dead with dagger. but is struck him-
self by apoplexy just IN tke nick OF
time. The Virtuous young Count then
rushes in. clasps the heroine in his
arms-curtain. The piece does not af-
frrI ohonco hr1t |